LEADER 04106nam 2200589 450 001 9910811311003321 005 20210317190608.0 010 $a0-271-08796-X 024 7 $a10.1515/9780271088259 035 $a(CKB)5590000000429962 035 $a(MiAaPQ)EBC6425787 035 $a(OCoLC)1227386800 035 $a(MdBmJHUP)muse95836 035 $a(DE-B1597)584414 035 $a(DE-B1597)9780271088259 035 $a(EXLCZ)995590000000429962 100 $a20210317d2020 uy 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aBecoming audible $esounding animality in performance /$fAustin McQuinn 210 1$aUniversity Park, Pennsylvania :$cThe Pennsylvania State University Press,$d[2020] 210 4$d©2020 215 $a1 online resource (1 online resource 201 p..) 225 1 $aAnimalibus: of animals and cultures 300 $aDescription based upon print version of record. 311 $a0-271-08825-7 311 08$aPainettu: 9780271087962 320 $aIncludes bibliographical references and index. 327 $aNotes to Chapter 1 -- Notes to Chapter 2 -- Notes to Chapter 3 -- Notes to Chapter 4 327 $aINTRODUCTION -- Chapter 1: BECOMING AUDIBLE -- Chapter 2: BECOMING ACOUSTIC Concealing and Revealing Voices in Hunting and Performance Interactions -- Chapter 3: BECOMING BOTCHED Play, Tactical Empathy, and Neo-Shamanic Acoustic Legacies in Performance -- Chapter 4: BECOMING CANINE The Scandal of the Singing Animal Body -- Chapter 5: BECOMING LINGUAL Primate Trouble in the Academy of Speech -- Chapter 6: BECOMING RESONANT Sounding the Creatural Through Performance -- Acknowledgments -- Notes -- Notes to Introduction 330 $aBecoming Audible explores the phenomenon of human and animal acoustic entanglements in art and performance practices. Focusing on the work of artists who get into the spaces between species, Austin McQuinn discovers that sounding animality secures a vital connection to the creatural.To frame his analysis, McQuinn employs Gilles Deleuze and Félix Guattari?s concept of becoming-animal, Donna Haraway?s definitions of multispecies becoming-with, and Mladen Dolar?s ideas of voice-as-object. McQuinn considers birdsong in the work of Beatrice Harrison, Olivier Messiaen, Céleste Boursier-Mougenot, Daniela Cattivelli, and Marcus Coates; the voice of the canine as a sacrificial lab animal in the operatic work of Alexander Raskatov; hierarchies of vocalization in human-simian cultural coevolution in theatrical adaptations of Franz Kafka and Eugene O?Neill; and the acoustic exchanges among hybrid human-animal creations in Harrison Birtwistle?s opera The Minotaur. Inspired by the operatic voice and drawing from work in art and performance studies, animal studies, zooarchaeology, social and cultural anthropology, and philosophy, McQuinn demonstrates that sounding animality in performance resonates ?through the labyrinths of the cultural and the creatural,? not only across species but also beyond the limits of the human.Timely and provocative, this volume outlines new methods of unsettling human exceptionalism during a period of urgent reevaluation of interspecies relations. Students and scholars of human-animal studies, performance studies, and art historians working at the nexus of human and animal will find McQuinn?s book enlightening and edifying. 410 0$aAnimalibus. 606 $aPerformance art 606 $aHuman-animal relationships in the performing arts 606 $aHuman-animal relationships in art 606 $aAnimal sounds 615 0$aPerformance art. 615 0$aHuman-animal relationships in the performing arts. 615 0$aHuman-animal relationships in art. 615 0$aAnimal sounds. 676 $a791 700 $aMcQuinn$b Austin$f1967-$01668026 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910811311003321 996 $aBecoming audible$94028310 997 $aUNINA